Author Archives: wzdc

Man Overboard Chords

Man Overboard Chords

These chords provided by Tim Hackett who said

These chords are based on my best assessment of Willy Zygier’s
rather funky acoustic rendition of “Man Overboard”, minus the
introduction and clever bits in the middle. The sample bar of G7 is a
rather complicated way of representing the rhythm he uses. If it
comes across as an unintelligible schmozzle, don’t worry, it’s not
you. But it might make some sense if you’ve actually heard him play

If fans have chords they have pieced together, please send them in to be included on this site. All chords may be printed for personal use but MAY NOT be redistributed by any means what so ever.

In April Chords

Deborah Conway (EMI Music)
This is just the easy chord version to “in april”. The words are from the cover of the “seven deadly sins” soundtrack & the chords are from that recording as well.
(capo 4 in brackets)
verse (each line is
B / / / F# / E / B / / / F# / E /
(G) (D) (C) (G) (D) (C)
F# / / / E / / / F# / / / E / / /
(D) (C) (D) (C)
F# / / / E / / / F# / / / E / / /
(D) (C) (D) (C)
B / / / F# / E / B / / / F# / E /
(G) (D) (C) (G) (D) (C)
Hello you it’s ten to one in the morning
I don’t know what time that makes it over there
I haven’t figured it out yet Cos we just turned the clocks back
And it gets so complicated I lose track
Maybe you been away
Looking at churches again
I guess you probably seen ’em all by now
I was feeling the need for Something a little bit more
In your line of bad jokes and sweet talk
And I miss you
And i’m thinking of you
And I know I’ve tried before
But you didn’t return my phone calls
I been out on the town
And yes i’ve been drinking again
Yes we both know it makes me emotional
But did you get the letter i sent are you keeping up with your rent
So many stupid questions running round my head
And I miss you
And i’m thinking of you
And I know I’ve tried before
But you didn’t return my phone calls
Well i’m gonna lie down
Close my eyes and imagine
That you’re standing right here listening to this
Why don’t you pick up the phone Quit pretending that you’re not home
Oooh baby I just can’t let you alone
And I miss you
And i’m thinking of you
And I know I’ve tried before
But you didn’t return my phone calls
I know it’s over now
I know ‘coz i talked to your friends
But there’s just one thing
Why don’t you return my phone calls

Glory Ordinary Day Chords

Conway/Simon Austin 1999

These chords were worked out by Tim Hackett who said :

Glory Ordinary Day is in 4 time and I’ve put in some chords for first
part of the verse that sort of fit in with what the bass does. Otherwise
you could do it as per the recording by picking out the melody on the G
string and using the D string as a drone.


| Bm | A G | D | D | Bm | A G | D | D |

| Gm | Dmaj7 C7 | D7 | D7 | Gm | Dmaj7 C7 |

| Gmaj7 | F# | Gmaj7 | F# |


| G A | A D | G A | A D | G A | A Bm | F# |

| G A | (Ends on a D)

Chords shapes

House Party – 13 August 2004

I wanted to say a huge thank-you to everyone who bought cd’s to enable the house party to happen. Especially the interstate contingent! And huge thanks to Viv for talking her friends into hosting the evening, and to Peter & Glenda themselves for inviting us in… and to Deborah & Willy for playing.
There hasn’t been a review of the evening posted, so I thought I’d give it a whirl.
First, I was late. Not a huge surprise to anyone who knows me. My excuse was football training. At 7:45pm I was running around in the cold rain… ten minutes later I was picking up my girlfriend from the station, and about 10 minutes after that we were standing on the doorstep of a house in Northcote hoping we had the right address.
We were welcomed in by a crew of youngsters, who proceeded to show us their dolls then disappear into a side room. We tracked the party down in the lounge (It was easy to find – I could see Mark). It was fabulous to see people again… Tim, Julie, Mark and Nikki (with gorgeous tot in tow). I’ve probably left people out, but that always happens.
My timing was impeccable of course – just time to get a drink before Deborah and Willy came on stage. Oops, I mean before they moved from the other half of the room, sat down, and encouraged people to move closer. Mark and Tim eagerly sat on the floor at their feet… I think Tim was making sure he saw every note Willy played.
First item was an explanation about how they came to be in the suburban lounge playing for us all… explaining about sales, record companies, etc… and the new strategy of walking into peoples homes and playing.
Um, songlist… I hadn’t heard the album, and don’t have it with me now, so this will be vague.
*Accidents happen in the home.
*The Ikea song – (I saw lots of smiles around the room as people remembered their own DIY experiences. Made me grin because I love putting those things together. No wonder people thing I’m strange!)
*Um… another song that Deborah forgot the first line of… Mark had to prompt her.
Um… guess I don’t know these songs so well yet!
The point is that the songs were great… the crowd was lovely. The lounge ambience was amazing – so intimate!
Anyway, I really only wanted to say what a fabulous night it was… and say thanks to all those who so greatly deserve it.

Summertown (2004)


  1. Stay On Track
  2. Accidents Happen In The Home
  3. Any Fool
  4. Try To Save Your Song
  5. Something’s Right
  6. Sunday Morning
  7. One Chance
  8. Sleepwalker
  9. I Love You But
  10. It Doesn’t Work That Way
  11. Heartache
  12. Here And Now

Musicians: Deborah Conway, Willy Zygier, Gerry Hale, James Black, Shannon Birchall
Additional musicians: Dave Williams, Toni Collette, Paul Kelly, Kim Wheeler, Michael Barker.
Produced by Willy Zygier and Deborah Conway. Co-produced by Gerry Hale.

Something’s Right, video

Something’s Right





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About Summertown

The last 3 albums had revolved around making music out of essentially non-musical components, (not that there’s anything wrong with that) but when it came time to do it again, I don’t know – I guess we had both gotten tired of torturing electric guitars and using atonal samples. Those sounds seemed everywhere.

We started talking about songs we liked from a pre-electronic era; artists like Simon and Garfunkle, The Mammas and the Pappas, Jimmy Webb, James Taylor & Carole King all came up in our conversations along with many others. We didn’t want to recreate them (as if we could) but we wanted to evoke that spirit, that approach to song-craft; beautifully realised verses, choruses and bridges that seem to have always belonged together even before they came into being. Also a certain gentleness and warmth that we hadn’t explored seemed like the path that was beckoning. We’ve been angst, brittle, pissed off and depressed, let’s give peace a chance.

During the writing period for this album, I broke my arm. I got some good material out of it but it severely cramped my guitar playing and confined Willy to rhythm only. This had its own knock-on effects for Gerry Hale (mandolin, cittern, fiddle, slide, Dobro, charango etc) and James Black (piano & organ) and the amount and intricacy of the various parts on the record. In the end maybe it was a bonus, forcing us to comply with our blueprint to simplify.

We expressly wanted to make an acoustic record and upright bass was the obvious route to take. Shannon Birchall (moonlighting from The John Butler Trio) brought a big, fat, warm, bottom end to the project, while Michael Barker (also from JBT) on percussion and Dave Williams (from Augie March) on drums put the engine into it.

With the vocal talents of Paul Kelly, singing a duet on “It Doesn’t Work That Way” – an examination of gender delineations as filtered through an IKEA experience; and Toni Collette trilling on Sunday Morning in the perfect counterpoint of girly vocals, we found two more outstanding contributors to Summertown.

In some ways Summertown sounds like my most mature record to date, ironic given the circumstances it was recorded in. My parents announced they were going on a cruise for a couple of months, leaving an empty house. I knew the answer would have been ‘no’ if I’d asked, but the thing is nature abhors a vacuum. They departed at 12.30 on October 6th – at 1.30 we had started loading in a van full of gear and set up a studio in their lounge and dining rooms. It’s unlikely at this point in life to get the kind of frisson usually reserved for 14 year olds deliberately disobeying their parents, but I have to say it was a sweet feeling and the vitality of youth flowed in the blood of all the tracks we subsequently put down.

Deborah Conway and Willy Zygier